The Cher Show, the glittering, high-energy jukebox musical chronicling the over six-decade career of Cherilyn Sarkisian (known universally as Cher), opened at the Church Hill Theatre last night. It’s the latest offering from Edinburgh’s tuneful amateur (non-paid professional) superstars, Allegro, and they are in fine form as ever.
In their hands, Rick Elice’s 2018 ode to one of modern history’s most compelling figures remains a joyful, breakneck-paced stage biography. Most importantly, Allegro has sourced the three distinct performers—dubbed ‘Babe,’ ‘Lady,’ and ‘Star’—needed to portray the icon at various stages of her evolution, allowing them to interact, advise, and drive the story forward with the superstar’s signature deadpan wit and formidable resilience. New to The Cher Show? Fear not, I shall explain…
The Angle: A Study in Self-Possession
The structural lynchpin of Elice’s show is its unique three-Cher approach. Rather than a linear biography, the show is framed as a conversation—a self-help session with hindsight—where the confident, seasoned ‘Star’ advises her younger, more naïve counterparts, ‘Babe’ (the shy teenager finding her voice) and ‘Lady’ (the star navigating her tempestuous marriage and television fame).
This device is the musical’s greatest strength and its primary challenge. It successfully captures the multi-faceted personality, the relentless cycle of personal and professional rebirth, and the self-aware humour that has helped to define the real Cher. However, it also requires the script to operate at a relentless speed, often gloss-skipping over pivotal life events—financial woes, major film roles, personal struggles—in favour of a fast-moving, upbeat showcase of hit songs and costume changes.
Most importantly, Allegro has sourced the three distinct performers—dubbed ‘Babe,’ ‘Lady,’ and ‘Star’—needed to portray the icon at various stages of her evolution, allowing them to interact, advise, and drive the story forward with the superstar’s signature deadpan wit and formidable resilience.
Under the sure hand of Director Neil Lavin, Allegro show their quality time and time again by living up to the show’s pace with superb quick-changes, tirelessly rehearsed choreography and smart blocking. They might lack the budget of Arlene Phillips’ well-received 2022/23 tour, but they make every ounce of sweat shed in rehearsal count. Those who caught that show when it toured to the Festival Theatre in 2022 will, however, miss Phillips’ smart edits to Elice’s rather over-stuffed script.
SEO & Subheading Mastery: A Feast for the Eyes: The Costumes and Choreography
Allegro do, however, compensate for the narrative’s rapid pace with plenty of visual and aural spectacle. For many watching, the true star of the show will doubtless be the fashion. The costumes, initially designed by Bob Mackie for the original production and gloriously reimagined here by Kate Dixon and Neil Lavin, are a continuous parade of superb, sequin-drenched, over-the-top glamour. From the bell-bottomed innocence of the Sonny & Cher era to the legendary, minimal showpieces that defined her as a solo artist, the wardrobe is a character in itself, marking the stages of Cher’s journey toward unapologetic self-expression.
Gilding the production further are a slew of digital designs carried on a screen behind the large, and versatile set. A minor delay affecting the relay between some ambitious live filming and screen aside, it’s great to see Allegro continuing to push the envelope.
This visual candy is matched by a powerfully delivered soundtrack. The musical arrangements, under the direction of Louisa Everett, ensure that the extensive catalogue of hits—from “I Got You Babe” and “Gypsies, Tramps and Thieves” to the iconic synth-pop anthem “Believe”—land with power-pop-concert energy. Allegro have never lacked vocal oomph, nor failed to assemble a fine band to accompany them. With a little more care and attention to mic cues and balance from the sound desk they would all sound even better, but it’s great even so.
The choreography, designed by Laura Green, is equally impressive, with a versatile ensemble executing high-octane routines that blend 70s pop swagger, disco flair, and contemporary power.
SEO & Subheading Mastery: The Crucial Trio and Supporting Players
The success of any production of The Cher Show rests almost entirely on the shoulders of the three performers tasked with embodying the icon. Emma Clarkson as ‘Babe’ captures the raw talent, vulnerability, and wide-eyed optimism of Cherilyn Sarkisian before she fully became ‘Cher.’ Zoe Murray’s ‘Lady’ brings emotional depth and sharp comic timing to the complex years of the Sonny split, the subsequent solo career, and the pressure of maintaining a public image.
However, it falls to Cathy Geddie to be the ‘Star’ of the show—a wry, experienced narrator and guiding light, responsible for delivering Cher’s famously acerbic one-liners and the final, powerhouse ballads. She has the commanding presence and contralto tones to bring the show home. She also has the least OTT Cher accent, though none stray into Spitting Image territory between belting out Cher (& Sonny’s) iconic songbook.
However, it falls to Cathy Geddie to be the ‘Star’ of the show—a wry, experienced narrator and guiding light, responsible for delivering Cher’s famously acerbic one-liners and the final, powerhouse ballads.
The supporting cast, particularly a buoyant portrayal of Sonny Bono by recovering Spongebob, Joe Purcell, and a regal Eilidh Todd as Cher’s fiercely supportive mother, Georgia Holt, provide necessary emotional anchors to the whirlwind story. This being Elice’s original book, Cher’s post-Sonny lovers are no sooner on stage than gone again, but no one leaves anything in the changing rooms—including some remarkable wigs.
The Chers always look magnificent in theirs, but such splendour doesn’t manifest with every wig-bearer. That can be fun, but it can also introduce comedic tones to otherwise serious scenes…
A Night of Pure, Sequined Escapism
In the end, a jukebox musical lives or dies on how it delivers its songbook, and delivering good tunes in big style is an Allegro speciality. It’s a joyful, celebratory spectacle, underscored by a timeless soundtrack. Ultimately, Allegro’s The Cher Show is a feel-good piece of theatre that encourages the audience to “Believe” in the power of reinvention. You don’t have to be a tramp, a gypsy, or a thief to enjoy it, but you will probably be on your feet for the final mega-mix.
Featured Image: Cathy Geddie, Zoe Murray and Emma Clarkson in The Cher Show from Allegro
Details
Show: The Cher Show (Allegro)
Venue: Church Hill Theatre, Morningside Road, Edinburgh, EH10 4DR
Dates: 11–15 November 2025
Running Time: ~2.5 hours (with interval)
Age Guidance: 12+
Admission: £18 + booking fee
Time: Evenings 7:30pm; Sat matinee 2:30pm
Accessibility: Fully Accessible Venue
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You do realise that amateurs are legally not allowed to alter the scripts, like the professional companies are….
That is, broadly speaking, true – however most licensing bodies eg Broadway Licensing, Concord etc do allow companies to request permission for changes. What % of requests are met with a yes, I do not know, and – broadly speaking – my criticism is of Elice’s book, not Allegro who do a marvellous job of realising it as the review shows.